９０年代以来，中国小说发展的一个重要趋向是历史化叙事的主题化。所谓“历史化叙事”，有别于传统文学批评所谓“历史小说”。历史小说是以文本之外的史实或历史事件为表述对象的；而历史化叙事，是在历史与现实的交错构成中的自我认同的叙事行为·········。两者的基本区别在于，历史化叙事丧失或者放弃了历史小说以现代唯物论为基础的现实主义美学原则和对“历史”的客观性（确定性、整体性）的信念。本文试图指明的是，历史化叙事在９０年代中国小说中的主题化，是９０年代中国社会与文化（文学）相互作用的产物，它既展现了在９０的年代中国社会全面商品化运动中自我或个性的深刻危机，又构成了一种抵抗商品化的消费主义潮流的文化诗学———在历史化叙事中，“历史”变成了当前现实中深晦而····················不可触及，即商品化不能最后整合的自我的一片永远的风景：自我欲望中的永远的禁地 Since the 1990s, an important trend in the development of Chinese novels has been the thematicization of historical narratives. The so-called “historical narrative” is different from the so-called “historical novel” of traditional literary criticism. Historical novels take the historical facts or historical events outside the text as the object of expression; and the historical narration is the narrative act of self-identity in the interlaced composition of history and reality. The basic difference between the two lies in the loss of historical narrative or the abandonment of the realist aesthetic principle of historical novels based on modern materialism and the belief in the objectivity (certainty and integrity) of “history.” This article attempts to point out that the thematicization of historical narration in Chinese novels in the 1990s is a product of the interaction between Chinese society and culture (literature) in the 90s. It not only shows that in the 1990s, China’s self-self- Or the profound crisis of individuality, and constitutes a cultural poetics that is resistant to the trend of commodified consumerism - in historical narrative, “history” has become the deep reality of the current reality ··················································································································································································